--- description: LIFE staff photographer John Dominis, on assignment in Africa in the 1960s, developed an innovative way to capture antelope on the run. title: Wildlife Photography Without a Telephoto Lens: John Dominis image: https://static.time.com/v3/assets/bltea6093859af6183b/bltbf6d9a8f46f9eec0/6988d143656a3f4bc3bd0623/dominis-antelopes-01.jpg?branch=production&width=3840&quality=75&auto=webp&crop=16:9 ---  * [photography](/tag/photography/) ## photography Update your preferences in [Account Settings](/account/preferences/) Close # How John Dominis Photographed Wild Antelope Without a Telephoto Lens by [Liz Ronk](/author/liz-ronk/) ## Liz Ronk Update your preferences in [Account Settings](/account/preferences/) Close Jun 27, 2017 2:00 PM CUT  John Dominis on assignment in Africa, 1969. John Dominis on assignment in Africa, 1969.John Dominis Photographic Archive/UT Austin’s Briscoe Center by [Liz Ronk](/author/liz-ronk/) ## Liz Ronk Update your preferences in [Account Settings](/account/preferences/) Close Jun 27, 2017 2:00 PM CUT The photographers on LIFE Magazine’s staff did it all, taking on assignments wide and varied without a blink of the eye. [John Dominis](http://time.com/3524708/photographer-spotlight-john-dominis/ "undefined") was no exception. He joined LIFE as a staff photographer in 1950 and would go on to shoot some of the biggest stars of the era — Steve McQueen, [Frank Sinatra](http://time.com/3619112/frank-sinatra-portraits-of-the-voice-in-1965/ "undefined") and Robert Redford to name a few. He also shot one of the [most iconic images of the 20th century](http://100photos.time.com/photos/john-dominis-black-power-salute "undefined"): Tommie Smith and John Carlos giving the black power salute at the Olympics in Mexico.  Jan. 6, 1967 cover of LIFE magazine. John Dominis—LIFE Magazine On the anniversary of his June 27, 1921, birth, LIFE looks back at one of his lesser known shoots – the African Antelope, which was a cover story and a follow up to The Great Cats of Africa, which would earn him Magazine Photographer of the year in 1966 and later become a book. In the Editor’s Note that [accompanies](https://books.google.com/books?id=mFAEAAAAMBAJ&pg=PA5&dq=wildebeest&hl=en&sa=X&ved=0ahUKEwjag6PxpL7UAhWOZiYKHVIICNcQ6AEINDAD#v=onepage&q=wildebeest&f=false "undefined") the story, Dominis describes how he was able to get the dramatic photo of the “bizarre wildebeest” (the last slide in the gallery above) without a telephoto lens. “I wanted to get low-angle shots that gave a dramatic sense of their speed. I built boxes out of plywood and mounted cameras inside of them,” Dominis explained. “John \[Mbuthi, a local whom Dominis worked with on the story\] and I worked for three weeks with them. We’d go a mile ahead of a herd and put down the boxes and camouflage them. Then we’d hide a quarter of a mile away and wait — maybe for several hours. Meanwhile the light might change and there was no way I could alter the exposure on the cameras. If the animal reached the boxes, I pushed the button that triggered the motorized cameras by a radio signal and ran off a whole roll of film. I must have exposed 40 rolls, but ended up with only one really good frame.” Featured in this gallery are images provided by the [Briscoe Center for American History](https://www.cah.utexas.edu/collections/photojournalists/intro.php "undefined") at the University of Texas at Austin of these contraptions that John Dominis set up. These rarely seen images show a photographer at work and just how resourceful Dominis was in getting the shot.  December 5, 1969 cover of LIFE magazine. John Dominis —LIFE Magazine The Briscoe Center recently [acquired](https://www.cah.utexas.edu/news/press%5Frelease.php?press=press%5Fdominis "undefined") the John Dominis archive after his daughter, Dori Beer, reached out to the center. His longtime friend and photo editor M.C. Marden organized the collection, which contains a comprehensive look at his professional and personal work and life. While his archive won’t be open to the public until later in 2017, the Briscoe Center — the photojournalism collection of which also includes the work of Diana Walker, Eddie Adams, Dirck Halstead and others — is open for research and focuses on a behind-the-scenes look at how Americans experience the world, from politics to war to wildlife, via the media. “Pictures like \[Dominis’ animal series\] have something to say about how Americans (though magazines like LIFE) perceive the outside world,” said Ben Wright of the Briscoe Center, in a statement to LIFE. “These pictures and collections are not only beautiful and interesting: they’re historical evidence that help historians to understand the past with accuracy and integrity.”  John Dominis on assignment in Africa, 1969. John Dominis Photographic Archive/UT Austin’s Briscoe Center  Caption from LIFE. Oryx. There are few more spectacular sights than a herd of oryx striding across the grasslands, with scores of saberlike horns glistening in the sun. John Dominis—The LIFE Picture Collection/Getty Images  Caption from LIFE. Soaring above the thick brush of East Africa, two impala move with a flowing grace unsurpassed in the animal kingdom. John Dominis—The LIFE Picture Collection/Getty Images  Caption from LIFE. Grants Gazelle. The gazelle is one of the fleetest of the antelope. Among it's natural enemies, only the cheetah has a chance of running it down John Dominis—The LIFE Picture Collection/Getty Images  John Dominis on assignment in Africa, 1969. John Dominis Photographic Archive/UT Austin’s Briscoe Center  John Dominis on assignment in Africa, 1969. John Dominis Photographic Archive/UT Austin’s Briscoe Center  John Dominis on assignment in Africa, 1969. John Dominis Photographic Archive/UT Austin’s Briscoe Center  John Dominis on assignment in Africa, 1969. John Dominis Photographic Archive/UT Austin’s Briscoe Center  Caption from LIFE. Wildebeest. Their faces covered with grotesque tufts of hair, the wildebeest (South African Dutch for "wild beast") are the oddest and fiercest-looking antelope of all. 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